Sori in the Land of Lembuna Performance by Flying Balloons Puppet and Gwen Knox presenting a discourse of river habitat polution phenomenon packed as explorative and imaginative. Analytical method ...done with hypersemiotic perspective which qualitative interpretative. The review on signs that were present in the performance is done with hypersemiotic perspective. Hypersemiotic perspective analysis used are content of recycled signs that were present in the performance. Lembuna is a character representing the myth of Lembudana and Lembudini, as a past reality, recontextualized into present reality in the form of a Plastic Monster as a representative of environmental pollution from plastic wastes piling up in the river ecosystem. The present of both merge into new reality in the form of a performance, so between signs and reality, even reality and non reality are hard to be distinguished.
Ion Creangă’s work has been and remains an inexhaustible source of inspiration for artists in the field of audiovisual arts. His entire creation from Childhood Memories to more meaningful stories ...form a specific world full of heroes involved in the great Theatrum mundi. In our Republic, Creangă’s works saw the limelight in 1957 for the first time with the story Harap Alb, staged by Constantin Ilinschi at the Licurici Theatre. Then, there were the stories Ivan Turbinca (staged in 1972 by I. Stihi), Dănilă Prepeleac (1983, Gh. Urschi), The Purse with Two Pence (1986, L. Cibotaru), The Old Man’s Daughter and the Old Women’s Daughter (2007, T. Zhukov). But the most successful show is considered Harap Alb (1978), stage version and scenography by Ion Puiu, directed by Titus Zhukov. The show Ivan Turbinca (1989) based on Ion Creangă’s story of the same name, was at thebasis of the formation of the new puppet theater Guguţă. In puppet shows, we discover a special world of Ion Creangă’s work. And if from a literary perspective Creanga’s work has been and continues to be studied from different points of view, then the theatrical dimension is a less analyzed field.
Arts can provide an alternative to violence and the opportunity to give a voice to the oppressed. Music, arts and theatre can become acts of defiance, a form of resistance, or a simple bridge of ...reconciliation. Creativity in arts give the community the opportunity to exceed certain boundaries and urges the individuals to see the potential in them and in the whole world. We will analize, therefore, the relations between
and
trying to analize contemporary examples of global conflict zones: theatrical protests against war, performances by refugees and the impact of these in education. Using theatre as a form of awareness of human rights, we are not educating only the audience – we also lead to public awareness, empathy and people-to-people relationships. The vision of a theatre that connects thoughts, feelings and actions represents a powerfull symbol of a democratic society. Theatre, as the most public of art forms, embracing the other arts under it’s hat, can become a form of remodeling a society, using our imagination.
This essay discusses the scene entitled Shunkan on Devil Island from Chikamatsu Monzaemon’s early modern puppet play The Heike on the Island of Women as a commentary on social and political ...strictures of the early modern Tokugawa shogunate, which increasingly regulated social and commercial life as it sought to maintain control of the burgeoning cities of Edo and Osaka in the early 1700s. The play is loosely based on the medieval epic war tale Tale of the Heike (Heike monogatari), a beloved and foundational text that has found numerous afterlives in Japan’s theatrical, narrative and cinematic traditions. Shunkan on Devil Island refashions the Heike’s story of the Buddhist prelate Shunkan (banished to Devil Island following a botched coup attempt) as a specifically early modern tale by introducing a female character, Chidori, who becomes the wife of one of Shunkan’s two fellow male exiles and therefore a member of the "family" that they, as aristocrats banished to a distant island, create. Through exploring the idea of family relations on the remote Kigaigashima, Chikamatsu recasts the well-known tale of Shunkan on Devil Island to create a utopic staged space that comments on the oppressiveness of the early modern polity experienced acutely by the urban audiences of the early 18th century.
This study aims to address the stigmatization and reductionism of Central European culture by many scholars and to decentralize it. At the Crossing Borders with Shakespeare Since 1945 conference, the ...roundtable discussion raised questions about naming and defining “Central Europe” and revealed several discrepancies. However, the discussion lacked cultural, political, and historical context. To address this, the author examines a lesser-known artistic genre, puppet theatre, for answers and comparisons. Zlatko Bourek, a Croatian artist and director, offers a unique perspective on the theatre of the 1980s and serves as an example of the diversity and heterogeneity of Central European cultural expression. Bourek’s work draws from the tradition of Central European puppetry and explores connections between the Iron Curtain and Yugoslavia. His artistic style is exemplified in his adaptation of Tom Stoppard’s play Fifteen-Minute Hamlet, which masterfully condenses the entire plot of William Shakespeare’s Hamlet into a fifteen-minute performance. Bourek’s concept of combining Shakespearean tragedy with farce, presented through Japanese traditional Bunraku theatre, represents an important experiment of the 1980s. The use of syncretism and the aesthetics of ugliness are notable features of this experiment. It is a breakthrough in the perceived history of puppet theatre for adults and an aesthetic experiment in the era of Central European totalitarianism.
Purpose: The study investigates the impact of motivation, sensation-seeking, constraint, and attitude on visit intention and stage of readiness associated with a folk theatre, specifically the ...Bharata People Theatre. Design/Methodology/Approach: The collected data includes 260 participants in Jakarta using a convenient sampling method. We analysed the collected data through exploratory factor analysis, confirmatory factor analysis, and structural equation modelling. The study tested various hypotheses related to the influence of motivation, sensation-seeking, constraint, and attitude on visit intention and stage of readiness. Findings: The results showed significant relationships between motivation and attitude, motivation and visit intention, sensation-seeking and visit intention and attitude and visit intention. However, the study did not find a significant relationship between constraint and visit intention, motivation and readiness, sensation-seeking and readiness or attitude and readiness. Research, Practical & Social implications: This study contributes to the current knowledge of marketing folk theatres, specifically the Bharata People Puppet Theatre. The study emphasises the significance of motivation, sensation-seeking, and attitude in influencing visitors’ intentions to attend cultural performances. However, the non-significant relationships between constraint and readiness and between attitude and readiness suggest the need for a better understanding of the factors affecting visitors’ readiness to engage in cultural performances. Originality/Value: The study provides valuable insights for theatre managers and marketers to design effective strategies to attract and engage audiences.
The concept of systemic puppet therapy proposed by the authors is described. Therapeutic work with puppets is a promising method of psychological assistance as part of rehabilitation processes. Its ...insufficient use is due to its low structurality. The phased application of morphological analysis and synthesis made it possible to streamline the known and develop new effective methods of puppet therapy. The proposed systemic puppet therapy is an ordered polymodal set of static (lining on the table or on the floor of a puppet arranged set) and dynamic (presenting history on behalf of the puppet or staging a performance) methods, individual and group methods, face-to-face and remote forms of work, algorithms for their choice.The size, material and design of puppets, quantitative and qualitative composition of their therapeutic set are justified.
Methods of puppet therapy of different degree of structuring and depth of exposure for patients with different level of intelligence are described, including category and scope of application of the technique, instructions to the patient, plan of results discussion,transformation procedure providing therapeutic effect. Implementing a polymodal approach, after working with puppets, patients painted, composed and analysed works of literature andart. The field of puppet therapy intersected with the fields of drama-, mask- and art therapy, body-oriented and verbal therapy, psychodrama and system arrangements. Puppet therapy content included work with feelings and emotions, with the process of communication and social roles, with verbal and non-verbal diagnostics and self-diagnostics, with personal features and a system of relationships,with values and needs, with existential problems of patients. Systemic puppet therapy is applicable to a wide range of nosological categories, therapeutic situations, physical condition, intellectual level, gender and age characteristics of patients.The conditions and examples of application of techniques in the National Medical Research Centre of Rehabilitation and Balneology with the tasks of correcting unproductive attitudes and the system of patient relations, correcting perceptions of oneself; capacity-building and resource search; development of a compliance installation and active participation in rehabilitation are given.
Una cadena de amistades conectaba a Celso Lagar con Rafael Barradas en Barcelona, Barradas con Federico García Lorca en Madrid, y Lorca con Hermenegildo Lanz en Granada. A través de estos vínculos, ...entre 1916 y 1923, se comunicó una serie de ideas relacionadas, sobre experimentos vanguardistas en el arte y el teatro. El planismo de Lagar influyó en Barradas y su vibracionismo, en colaboración con Gregorio Martínez Sierra, Barradas desarrolló sus ideas sobre el Teatro para los Niños y las figuras planas, mientras que Lorca y Lanz, inspirados también por las miniaturas medievales, las puso en práctica en su escenificación del Misterio de los Reyes Magos. Este artículo rastrea todas las etapas y los detalles de estas innovaciones interconectadas y demuestra varios casos de influencia o inspiración inadvertidos hasta ahora.
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